On November 26, 1510, Portuguese Admiral Afonso de Albuquerque captured Ilhas from Sultan of Bijapur Adil Shah and laid the foundation for the Portuguese Empire’s commercial links between Asia and Europe. Besides trade, the Portuguese were authorised by papal bulls like Romanus Pontifex (1455) and Inter Caetera (1493) to spread Christianity. Consequently, missionaries arrived in Goa to spread Christianity, starting in the Ilhas de Goa (Tiswadi, Divar, Chorão), then expanding to Bardez and Salcete, building churches and converting locals.
Before the arrival of the Portuguese, children in Goa received education through traditional schools called pathshala. Students were provided with basic education (reading, writing, and arithmetic). Schools were often held in the verandas of village landlords’ houses or, if that wasn’t possible, under the shade of trees near temples.
For higher education, students would go to places called Agraharas, where they studied subjects such as music, grammar, logic, mathematics, astronomy, and political science. Those who wished to become temple pujari would study at Brahmapuri schools, where they were taught religious texts like the Vedas, Puranas, Smritis, Kavyas, and Bhashyas.
Parochial schools
Portuguese literacy was required for jobs in the administration, yet many Goan youths lacked formal education. To remedy this, King John III mandated in 1546 that every parish establish schools. These schools taught children Portuguese reading and writing, arithmetic, religious studies, and Latin music, including solfeggio and singing.
In 1554, King John III broadened the effort by ordering the establishment of more parish schools and making education compulsory for children aged 7 to 13. Funding came from the local parishes and village communities, known as Comunidades. These schools operated both mornings and evenings. In addition to teaching Portuguese reading, writing, and arithmetic, students were trained to serve as altar boys during Mass, recite prayers and hymns in Latin and Gregorian chant, and carry out various church duties. Those who could confidently sing at least twelve Masses were encouraged to learn the violin.
On June 28, 1890, the government mandated annual examinations for students. To conduct these evaluations, a local committee was established, typically comprising the parish priest, a village doctor, and a respected member of the Comunidade.
As enrollment grew, seminaries offering secondary education established colleges, notably St. Paul’s in Old Goa. Students from across Asia enrolled, leading to its recognition as a university. However, due to management difficulties, the university was eventually handed over to the Jesuits. To raise the standard of classical music, the Goa Symphony Orchestra was formed. As a result, many students who began with basic music training in village parochial schools went on to become skilled musicians and performers.
Several religious orders—including Franciscans, Jesuits, Dominicans, and others—arrived in Goa, bringing with them a Latin-based education. Sacred music was vital for liturgical ceremonies and evangelism; for example, St. Paul’s students often sang the Credo through the streets. Jesuit St. Francis Xavier traveled through the muddy lane of Old Goa, teaching children about God through simple, action-based hymns that explained key Christian beliefs to both young and old.
Goans became famous Musicians
The adage, “As the nest, so the birds,” aptly captures the emergence of numerous distinguished musicians from these modest parochial schools. The Goans possess an intrinsic passion for music and an exceptional aptitude for its creation. Notable figures include R.L. Dalgado, renowned for the mando Ugddas yeta Natalanche ratricho, Paulo Milagres Silva of Loutolim and Arnaldo de Menezes of Curtorim, famed for the mando Sontos bogta re jivaku, Ligorio Costa famed for the mando Tamde roza tuje pole. The list goes on … Gizelino Rebelo from Verna, Torquato de Figueiredo of Loutolim wrote the mando Adeus korcho vellu Paulo, Luis Manuel Menezes of Divar scripted the mando Sonvsar chearuch re disancho, which he composed after being jilted by his lover, and Antonio João Dias of Benaulim who scripted Sangat moga tuzo. First sung in 1840, the mando—centered on themes of love and sorrow—likely drew inspiration from Fado, the melancholic Portuguese genre that emerged in 1830, known for its expression of longing and destiny.
Their musical lineage traces back to Jose Antonio Gonsalves, who, after rigorous training, gained prominence as Anthony Gonsalves—a celebrated figure in Bollywood music and a revered mentor to many. Furthermore, Gonsalves played a pivotal role in integrating S.D. Burman’s compositions in the film Jaal and Salil Chaudhary’s works in Do Bigha Zamin, significantly enriched Indian cinema’s musical heritage.
Antonio de Figueiredo from Loutolim founded the Academia de Música and the Goa Symphony Orchestra, providing students with comprehensive music education. Michael Martins from Orlim composed folk and devotional songs. Camilo Xavier from Macazana and Father Lourdino Barreto from Galgibaga contributed to music education at the Patriarchal Seminary in Rachol. They helped develop the choir’s singing and also supported the formation of the orchestra.
Chris Perry from Borda, famed as the King of Cha Cha Cha and Man with the Golden Trumpet, was a celebrated trumpet and saxophonist, with hits often sung by Lorna. Jazz legend Braz Gonsalves is hailed as India’s top international saxophonist. Mestre José Santana Cota shaped Goa’s music by teaching solfeggio, and instruments, and forming bands for local institutions. Bardez’s parochial schools also produced notable talents like conductor Antoninho Servitas de Souza, bandleader Joãozinho Carvalho, and Antonio Xavier Vaz (Chic Chocolate), and known as the Louis Armstrong of India.
